For thousands of years, music existed only in the moment it was being performed. First and foremost, it removes the temporal aspects of music. As the artistic director and record producer of the male vocal ensemble Cantus (whose last seven CDs have been engineered by Stereophile editor John Atkinson), I feel the simultaneous need to create spontaneous and passionate concerts and recordings as well as note-perfect performances and immaculately sung CDs. It does not surprise me that modern recordings have helped replace musicians’ quest for excellence with an obsession for perfection. To quote Penrose, Hamilton’s book is a lament for “the loss of a passionate, individualistic, freeform performance style” in classical music. Modern recordings and overly revered scores have created a climate in which classical musicians are playing scared as they try to be as perfect and faithful as possible. Through analysis of piano performance practice as it has changed over the last century and a half, Hamilton claims that the ubiquity of “perfect” recordings has coupled with critics’ fanatical devotion to the urtext-the original score that supposedly contains all of the composer’s original intentions.
html) of Kenneth Hamilton’s book After the Golden Age: Romantic Pianism and Modern Performance (Oxford University Press, 2007 hardcover, $29.95). The January 25 edition of the Wall Street Journal featured James F. Penrose, Wall Street Journal, January 25, 2008Įll, color me conditioned for perfection. Inhumanly Perfect Performances? “Modern recordings, for all their glory…have conditioned audiences to expect an inhuman degree of performance accuracy, comparable to what a recording studio’s editing team can produce by patching together the best moments from multiple takes.” -James F. Intoxicating THE PRINCE V 2 “You must audition THE PRINCE V2.
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